March 2011 - World Association for Symphonic Bands and Ensembles

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Joseph Schwantner succeeded. Elaborate orchestration, wideranging timbres and dynamics, unique and complex harmonies, and imaginative rhythmic configurations are all hallmarks of this pivotal work. While not programmatic music per se, Schwantner was influenced by a poem written by Carol Adler, Arioso, where the line “and the mountains rising nowhere” can be found. The instrumentation of this work departs from the standard Wind Band scoring to date, and will influence composers forward in terms of deviating from the norm in order to achieve particular sounds and colors. Schwantner calls for six flute parts, most doubling piccolo, four oboes two of which double English horn, four bassoons and only two clarinet parts. Prominent use of six percussion parts by this time wasn’t new, but yet amplified piano was indeed unique. Additionally, Schwanter’s score calls for crystal glasses as well as singing, which at that time provided rare sounds in the medium but yet quite common today. The work is primarily based on nine motivic elements. The melodic and harmonic devices used in the work are a combination of a variety of scales, sometimes exclusive, other times interwoven. Modality is combined with the use of a variety of pitchclasses, and interchange throughout the work. Rhythmically, the work feels quite fluid, not succinct, and the overall impression is rather ethereal. Again, these traits were certainly a novel approach to Wind Band composition. The rules have changed. Leslie Bassett Colors and Contours – 1978 Yet another Pulitzer Prize winning composer writes for Wind Band. Leslie Bassett’s musical background led him down many paths as a composer, having written for most all performance mediums, including electronic music. So it is no wonder that he was interested in seeking to use sound in unique ways. His work for Wind Band, Colors and Contours, exemplifies Bassett’s exploration of sound combinations resulting in a work of lasting significance. While relatively short (under ten minutes) and intended for performance by bands of modest means, Colors and Contours has become a staple in serious repertoire for Wind Band. This is a single movement work divided in two sections (slower and faster) with the two sections connected by a euphonium solo. On display is Bassett’s mastery of orchestration, treating each instrument combination with exceptional variety yet always with rounded sonority. The use of silence in addition to the various combinations of instruments lends to the variety of “colors”. Harmonically sophisticated, with both a hint toward serial music but highly chromatic, Bassett’s “contours” are achieved through a number of means. The contour aspect of the work is realized through a series of crescendos and diminuendos, arpeggios, and an unfolding of layered melodic material, all of which are consistent throughout. With no source of program, inspiration, stylistic period conformation, or previously existing source material, this work is wholly grounded on the concept of sound, pure music. While this was certainly not a new approach to composition, Bassett’s work did indeed deviate from other significant pieces of this period, marking Colors and Contours as an example of a different form of expression though sound for the Wind Band. Leslie Bassett David Maslanka David Maslanka Child’s Garden of Dreams – 1981 Amidst the wide-ranging selection of repertoire within this compositional period comes a behemoth, 5-movement, 35 minute long work by David Maslanka entitled A Child’s Garden of Dreams. While pieces by this time have explored colors, wide ranging instrumentation, and extensive use of percussion as well as addressing both programmatic and pure music entities, Maslanka’s work brings many forces together and extends the notion of writing music based on extra musical ideas. Perhaps more than any other composer writing for band during this time, Maslanka was greatly motivated by the extra musical aspect of music; that is, what is in the human subconscious and how does music relates to that place? So, it is no wonder that he took a well-known case from the popular psychologist, Carl Jung, as the source of inspiration for this composition. The case is based on a young girl’s revelation of impending death through a series of dreams. Maslanka chose five of these dreams as the basis for this multi-movement work of the same number. Certainly, the mood of each movement reflects to a certain extent, the content of the respective dream title, but beyond the tenor, the music itself presents a fresh sound and texture that hasn’t quite been heard before. While the music sometimes leans toward minimalism and other times is rich texturally and rhythmically active, there is always a sense of deep expression in the work. Virtuosic playing is required across the ensemble. While the instrumentation is fairly standard, including the use of harp and piano, Maslanka adds the additional electric 30 WASBE World
organ to the mix. Extended percussion is utilized as part of the tonal fabric but also used for dramatic effect (slide whistle, anvil). Additionally, Maslanka utilizes sources from Bach as well as traditional folk music within his own original material. The overall effect of the work is programmatically profound, and musically exhilarating. From this period comes another masterwork. David Gillingham Heroes, Lost and Fallen (A Vietnam Memorial) – 1989 While David Gillingham has a significant number of compositions in publication, his Heroes, Lost and Fallen (A Vietnam Memorial) has proven to be a significant and lasting work. The title is a good indication of the basis of the piece. His own notes accompanying the score further paint the picture, step by step, of the programmatic nature of the work. Musically, the piece is based on opposing musical forces, on the one hand serene, chorale passages, and on the other, dissonant, percussive material. Gillingham produces great tension, even in the more lyrical sections, as gradual dissonance is developed sometimes slowly, sometimes suddenly. A vast array of texture is also employed, further demonstrating the possibilities of expanded colors available in the Wind Band. The work demonstrates Gillingham’s consistently effective use of percussion for both color and drama; and like most of his music, this section of the Wind Band seems to be the primary foundation above which everything else is written. With this music and by this time, percussion use is not only significantly enhanced, but it becomes in many examples, the “lead voice”. Character shift in Wind Band composition has certainly taken foot. David Gillingham SEX SELLS A very good friend of mine is working in the art business. Her main focus is paintings and sculptures by modern and contemporary artists. She takes part in all the big exhibitions and auctions: Miami, New York, London, Paris, Hong Kong, Basel, and so on. She keeps telling me how crowded those events all over the world are, how eager people here and there are to get VIP cards to enter the opening or the previews. She describes how much money art lovers spend for a piece of contemporary art and how important it obviously is for a lot of people to be a part of this “art world”. By listening to her, I could get jealous! I tried to explain to her how much more difficult it is for contemporary music to attract attention, to get an audience, even to attract an opportunity to present new works. While discussing this matter and searching for the differences between visual art and music, I asked her, “What should be done to make contemporary music more appealing to the masses? How could we learn from the presenters of the visual arts?” Her answer surprised me and gave me a lot to think: “You must improve the catering!” I began to realize, that in the (visual) art business, event managers, owners of galleries and even artists have recognized, that the art itself is not enough to attract attention. To find a good number of spectators, to get opportunities to exhibit, and to find people who are willing to spend a lot of money, art has to be served in a package that also satisfies other aspects. In my younger days, I always rejected this approach. I always thought “good music”, no matter if it was traditional or contemporary, would find an audience regardless of any external stimuli. When I observe what organizers of Symphony Orchestras or festival managers in the classic music business do today, I understand that these institutions are already following the practices of the “art world.” Symphony Orchestras offer dinners with the maestro followed by a concert. Classical music events take place in public areas like train stations or shopping malls and chamber music groups offer concerts and dinner at the same time, much like the practice of the “Tafelmusik”. Recently, one of the most prestigious private art museums in the world, the Beyeler Museum near Basel advertised an exhibition with the title “EROS.” In addition, one of the most famous music festivals in the world, the Lucerne Festival used the same title for the 2010 summer festival. No doubt in both cases, there were also commercial considerations responsible for this choice of theme – SEX SELLS! If these world famous, renowned and respected institutions need an additional kick to bring their product of highest quality to a wide audience, think how necessary it must be in the world of band music. It is time for “us” to open our eyes, to learn from, in this case, more successful partners in the art world. I think it’s time for a – in a metaphorical sense – improvement in our catering! Best wishes, Felix Hauswirth WASBE World 31
Page 1 and 2: Official Magazine of the World Asso
Page 3 and 4: IMPRINT IN THIS ISSUE WASBE World V
Page 5 and 6: Call for Reporters for the WASBE We
Page 7 and 8: Vision Statement General aspects of
Page 9 and 10: Marcelo Jardim Conductor and band d
Page 11 and 12: HOW TO ACCESS THE DATABASE? One
Page 13 and 14: Osaka College of Music Wind Orchest
Page 15 and 16: União Filarmónica do Troviscal Hi
Page 17 and 18: Taiwan Ministry of National Defense
Page 19 and 20: quality, systems for training Wind
Page 21 and 22: Quinquennial State Prize for his co
Page 23 and 24: tête des grands orchestres d’har
Page 25 and 26: composition was entirely and exclus
Page 27 and 28: BOOK REVIEW The Best We Can Be - Th
Page 29: compelled to write a work reflectin
Page 33 and 34: CALENDAR International Wind Music E
Page 35 and 36: Participants will conduct the UT Su
Page 37 and 38: Composition Competitions 2011 Chiay
Page 39 and 40: Special Price for WASBE Members B 6

March 2011 - World Association for Symphonic Bands and Ensembles

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